getting mail is communication
I add my woodcuts on these mails and create a new picture, made by 2 and more artists.
Briefe 2 - Woodcut
29x20 cm, 2008
On the surface my etchings are representational. The content is chiefly urban and / or figurative, and they aim to catch the texture of the everyday world - places, times, effects of light and weather. On the other hand I am concerned with the abstract geometries which remain visible within, or arise from, the world of appearances. There is also the attraction of the etched line with its variety of warmth. Most of my prints are monochrome, although red makes an occasional appearance.
Dressing Figure - Etching and drypoint
20x15 cm, 2007
Donna Moran is an artist that lives and works in the NY area. She has been a printmaker for 30 years, specialising in Silkscreen. Her prints have been exhibited in the US, UK, Spain, Australia, Peru, Germany, Italy and Poland. She has been a guest artist at V. Grazia ceramica in Deruta, Italy.
The images I create address issues concerning race, beauty standards, sexuality and identity I openly explore these topics utilizing imagery found in popular culture. I use humorous narratives as a device for engaging the viewer.
Wall Flower III
linoleum cut printed on found wallpaper, 16" x 16", 2006
There is a strong connection between my experiences, feelings, as well as music. For me, music can create feelings that I cannot manage to put into words, but I feel compelled to create art that gives those feelings a tangible form. My style incorporates music because it acts as a catalyst for many unnamed emotions that I know I share with others. Because of those shared emotions I am continually driven to create art that inspires others to experience a familiar, but unnamed emotion.
What makes artwork timeless? The momentum of making many works, critiquing them, then responding to them is an important part of my creative process. I constantly compare my work to artworks throughout history which truly move me. I combine direct observation through line and gesture with imagined and directly stolen material.
Wall Flower III
linoleum cut printed on found wallpaper, 16" x 16", 2006
The image is the first in a series dealing with intergenerational identity and trauma. The imagery in my work comes from myth and fairy tales, and my starting point was about "what if Pinocchio never became a real boy and his father wasn't as caring and loving as Gepetto" This particular image is about identity rape. I had worked in intaglio for 14 years and that influenced my sensibility of serigraphy, so this piece is the first in full color since I started working in serigraphs 2 1/2 years ago. My serigraphs are made of hand drawn positives, using ink, toner tusche and color pencil on drafting film and photo emulsion with the occasional direct drawing in the screen. The layers number over 30 but I lost track after a while. I work on an image till I feel it's done. That's about 20 to45 layers on average for most of my serigraphs
Huntsman and the hound (war and occupation)
Two Moons - Collograph
other works: 2 - 3 - 4
To go along with creating and exploring new art, I also have done political works during my years in college. Since I was a freshman in 2004, I started creating political art, mocking the 2004 presidential election and our foreign policies once we entered into Iraq. After having the experience of a lifetime of studying abroad in Florence, Italy for four months (as well as traveling to Barcelona, Germany, Prague, Amsterdam and London) during my study abroad), I decided to do a series of works, based on experience and research, about European stereotypes on America, titled “The Bush Effect”. To this day I continue to explore new content to create political art, including mocking the downfalls of society and television (MTV has been my main focus); and I hope that I continue to find not only new subject matter to insult, but a broad audience to show what I have to say about society and politics today.
Ellen Peckham is a poet and a visual artist and has read, published and exhibited across the U.S. and in Europe and Latin America. In 2009 a solo exhibition and readings of her poetry in Spanish and English is scheduled at the new museum, ICPNA, in Lima, Peru. She frequently uses both art forms in a single work, the text decorating and explicating, the image illuminating.
She is co-founder, with her husband, Anson, of Atelier A/E, the first gallery to open in the Chelsea arts area and, both for the Atelier and for other organizations, has judged and curated many shows. Her work is represented in major collections in the US and abroad and her archive of poetry drafts and visual art is included in the Doubly Gifted collection at the Harry Ransom Center For The Humanities in Austin, Texas.
At 13 I woke up having a dream – the most vivid dream I’ve had to date. In the Dream I could physically feel the pressure on my shoulder blades as the wings began to emerge from my body. As the pain subsided the wings took Flight. A wave of weightlessness and peace fell over me. Waking I could have sworn it was real.
Transformation is a constant in my life and in my artwork as it evolves and matures. Through my art I strive to emote sensual pleasures. My life’s experiences and stories passed down to me by my ancestors with hardships and tales of survival have shaped the way I see. Their energy, passions and trials mixed with my own lead me to create a reality to escape and fantasy depicting pain and joy, good and evil in timeless world.
Life, death, rebirth, Nature and its connection to mankind physically and psychologically intrigues me.
I love working in black and white, because it gives so much character to the drawing and I can focus more on what the subject is expressing, always leaving room for imagination.
The dream I had many years ago was but that – a mere dream. However, when you are living the dream, even for a moment, it is real. Exposing those moments through my art is the world I wish to share.
Each of my prints begins with a rough sketch . I develop and refine each idea directly on a copper plate using a burin to engrave lines. The burin is a natural tool for making calligraphic lines and I use the burin in a way that emphasizes its natural characteristics. Thus my images have a calligraphic quality that would be impossible to duplicate through any other medium or technique.
In my artwork, I explore self-identification by trying to capture the energy of memories and past actions in the process of creating a new history. This visual history is a visual myth in which a narrative is related that is about the role of communication in shaping ideas and individuals. My work is influenced by visual art that communicates to a broad audience: such as printmaking, comics, posters and popular painting styles
a native Nevadan, local printmaker and co-founder of Northern Nevada Printmaker's conspiracy, received her master of Fine Arts degree from Boise State University. Her work is frequently exhibited nationally and internationally and is part of permanent collections including Boise Art Museum, Corcoran College of Art and Design, Rutgers Center among others.
Her work can be described as a fusion between printmaking, painting and digital photography which includes multi-layered etchings-aquatints and large scale digital paintings that adress societal issues surrounding the female gaze, relationships and social identities.
Just the right paint
4 color etching-aquatint
these prints are of a pportion of the queensborough Bridge in New York. I have been working for a number of years with architectural imagery in my monoprints and installations. I utilize the structure of these images as linear elements and as a means of defining space. My predilection with kaleidoscopic qualities in my larger works is also evident in the optical elements of the final grids of smaller pieces, like the series of Qbridge monoprints. Keyed up colour enamen inks printed on acrylic sheets help give the work an appropriate industrial quality
The thematic starting point of my artwork is the human experience in relation to accepting the threatening fluidity of time. Through the strength of the rich and versatile visual texture of mezzotint , I am trying to gain a deeper understanding of this tragically dominating force: Time. My goal is to render as clearly as possible the clash between the isolation of the inner world of feelings and dreams and the outer world of reality.
The human presence is an essential element in my prints, although the actual human figure is not always visible. Sometimes this human presence is expressed in architectural fragments and interiors, derived from childhood memories. Using extreme vertical or horizontal compositions and parts of the human figure compressed by a heavy uncertain space, I am trying to express the inner agony of the human soul confronting time and death. The human figure is isolated in an undetermined space, at a nonspecific time, lost and crushed by forces with no ability to overcome or to understand.
The piece in its entirety contains approximately 320 bunnies, so far. At first glance this piece comically highlights the tendency of rabbits to reproduce aggressively. Individually the rabbits are cartoon cute, but as a group they began to blur the boundaries between cute and gross by overwhelming the viewer with their numbers and the slight sense of movement. This movement is evoked by the rabbits various poses and the color relationship between them. The viewer sees one rabbit, then another of the same color in a different pose and subconsciously fills in the gaps.On a more involved level I am trying to draw parallels between human and animal kind by placing ones' tendency, the instinctual urge or need to reproduce, in the realm of the other. Ultimately, the piece is intended to compare the instinctual urges of animals with the conscientious decisions of humans, calling into question the kind of value system one might begin to establish when evaluating the two psychologies.By sending you a limited amount of bunnies the overall concept is obviously changed, but I believe that by seeing just 5 in each show, you would still get a sense of the potential or suggestion of the above statement.These are reductive relief prints mounted on plywood with gator brackets on the back so they do not require frames.
Media reductive relief print 2007-2008
Dylan T. McManus
In the series "Latent Savagery" censored images from this catalogue have been layered together in order to create abstract compositions that subtly suggest the original images' origins. Hints of the our nation's violent nature gaze through the blurred layers of color reminding the viewer that in this modern age the consequences of one's ambivalence, while just out sight, are very real indeed.
I am a contemporary American realist whose imagery explores the relationship between people and their environment. I have absorbed and sought to extend the themes of earlier realists such as John Sloan and Edward Hopper; depicting modern life while exploring timeless themes of solitude and isolation. I am not interested in producing a literal translation of my environment but instead seek a balance between the subject and the pictorial structure that holds it together, riding the line between abstraction and realism.
My monoprint technique has been developed on my own over decades. It involves energetic application of bold strokes and wiping away to produce an abstract interplay of shapes that fall into place when viewed from a distance.I concentrate on translating my visceral reaction to the subject matter into the work, in hopes of setting up a corresponding emotional response in the viewer.
I render death. Hundreds of thousands of tiny strokes carved into metal birth the deterioration of an animal from a white void. The laborious technique of engraving with a burin draws me into an intense observation of the minnute. My engravings elevate the bleak appearance of decal into an aesthetically pleasing reality of transformation and time. Pulling inspiration, discovery and direction from artists and philosophers, my work is dynamic exploration of a traditional topic.
Through my creative practice as a printmaker and a book artist, I represent inanimate objects and abstract marks as visual metaphors or allegories. I explore tenuous qualities of human interaction, struggles and experience. I explore the use of simple, forms such as “X” and “O,” symbolic for “hugs and kisses” or “tic-tac-toe.” I'm informed by familiar leisure games like “Rock, Paper, Scissors,” to reference interpersonal communication. I primarily in work in woodcut printmaking and I often use a written text to inform the bookwork.
These images were derived from a historic photograph by W.S. Prettyman of the Oklahoma Land Rush. I have applied a concept similar to Eadweard Muybridge's where motion is depicted in some. Others have a juxtaposition of imagery in a diptych manner.
It is my intention to make artwork that can be ambiguous and possibly contradictory, instead of didactic and certain. Another important aspect to my artistic practice is the use of familiar imagery. My aim is to create an interactive relationship between the viewer and the work in order to create multiple interpretations, questions, and dialogue. Over the last five years my work has centered around issues of communication and forms of reproduction. Since 2001 I have made artwork that confronts the viewer with reproductions of receipts. Receipts are a form of print that we encounter almost everyday, but that I assume few actually think about in this way. Not only are receipts a mass produced form of print, but there is a large amount of public and private information written on them. In order to bring attention to receipts, I have reproduced every receipt I receive from my regular buying habits in the form of drawings, paintings, prints, or books. It is my intention to offer the viewer information about myself from text located on receipts in order to create questions about language, consumption, reproduction, receipts, and art. On one level, I believe that this body of work can be seen as a metaphor of the myth of a stable language and a stable self. Each day offers new buying opportunities, and in turn new opportunities to define or redefine the self through commodities. Looking at the work as a whole, many have seen this series has a consumer diary. Lastly, this body of work has opened up new challenges for myself as an artist. I am a student of and a believer in the traditions of hand-made printmaking. It was a struggle, and continues to be a challenge, to try to use these artistic traditions that I respect in a way that mimics mechanical reproduction.